NICOLE SUARES
Few people may know of the sweet tale associated with the historical Convent of Santa Monica on Holy Hill, Old Goa. Any bebinca-lover would share a slice from Goa’s culinary history that credits Sister Bebiana, from the old convent, for the creation of the famed dessert.
Apart from giving Goa the most-loved dessert, the convent now holds the Museum of Christian Art. Today, with the Museum of Christian Art (MoCA) in its precincts, the history it holds runs as deep as the seven-layered Queen of Desserts, bebinca.
MoCA is a vibrant historical, cultural epicentre that preserves the oldest Christian sacred artefacts while forging new conversations and perspectives around conservation.
The aim of the museum, noted the former Archbishop Patriarch Raul Nicolau Gonsalves in 1993, was not 'only to conserve and exhibit the valuable objects for local, national and international viewing, but also for fostering in the minds and hearts of the people a love for such objects which embody and unfold to us the rich heritage of our ancestors — their expression of worship, their talents in creating the best for the creator...'
He also hoped it would motivate people to treasure such objects in their churches and homes by establishing 'mini museums.'
He hoped the museum would develop into a centre of learning as it would inspire persons with the latent talent to research and discover the symbiosis of East and West art and culture, and to be a source of information to those interested in missionary history and Christian Art.
When it opened in 1994, it was believed to be the first in India, elaborates Natasha Fernandes, curator, MoCA. Today, the museum not only acts as a repository of the past, but also as a hub of engaging events that immerse the visitors into a lively, mutual exchange of heritage conversations.
THE COLLECTION
The Museum of Christian Art has a rich collection of art objects produced from the 16th to the 20th century, intended for churches, convents and private oratories. The collection includes paintings, books, textiles, wood and ivory sculptures, silver and gold objects, jewellery and furniture.
Due to the involvement of Goan or Indian artisans, the style and motifs adopted acquire a local character.
Historian Percival Noronha, in writing about the development of Christian Art in Goa, notes the creation of the Indo-Portuguese style.
He writes, ‘Consciously or unconsciously, each artist followed the Indian mind by shaping pieces of European models with Oriental decorations. Thus, we see the emergence of a new current in style, known the world over as Indo-Portuguese style, which was established by unknown Indian artists with great ingenuity, originality and splendour.’
He adds the immense contribution of religious orders towards the introduction of painting. A fine example of Indo-Portuguese art is the four and a half feet tabernacle monstrance. The symbolic pelican standing in for the Christ figure is referred in Psalm 102:7: ‘I am like unto the pelican’ (Similis factus sum pelicano). The bird symbolising filial love opens its chest to feast on the young.
In the Goan context, the head, body, neck, and tail feathers seem to be akin to the peacock, or garud, referred to in Hindu mythology.
MoCA is a vibrant historical, cultural epicentre that preserves the oldest Christian sacred artefacts while forging new conversations and perspectives around conservation.
The centrepiece of the museum has two distinct, but inter-linked parts: a spherical base made of silver-covered wood, with a cavity for the tabernacle to which access is gained through an opening at the back and the monstrance itself, an artistically splendid amalgam of pelican and peacock.
In its breast is an aperture surrounded by a golden sunburst halo designed for the consecrated Host for the adoration of the faithful. Two young birds cling to their mother and await their feed. This piece was originally made for the 17th-century Convent of Santa Monica, Old Goa (cloistered nunnery).
Another significant 19th-century Indo-Portuguese art in metalwork is the intricate Infant Jesus in a Canopy Bed.
The local artisan used an Indo-Portuguese pearl motif and a star-shaped floral motif on the sides of the bed, suggestive of the white flowers of Carissa carandas found wild in the hills of Goa.
Unlike the popular Baby Jesus in a crib representation, the Infant Jesus, made of ivory, gilt and polychrome, sucking his finger in sleep, lies on a four-poster silver bed.
The ornate crown signifies the royal bed occupant. This representation finds similarity to the god Krishna as a child, similarly, adorned and lying in his cradle, an image popular in Indian art and custom.
The local artisan used an Indo-Portuguese pearl motif and a star-shaped floral motif on the sides of the bed, suggestive of the white flowers of Carissa carandas found wild in the hills of Goa.
RESTORATION WORK
The museum underwent a complete refurbishment between 2017-2020. MoCA prepared the project with the Calouste Gulbenkian Foundation, Portugal, and the Indian National Trust for Art and Cultural Heritage (INTACH), New Delhi.
The refurbishment included the structural renovation, interior museographic layout, and conservation of art objects.
The structural renovation considered its historic location within the Convent of Santa Monica. The restoration of a part of the upper floor (the historic choir loft) is now the viewing platform and gives visitors a view of the whole Museum and the imposing main altar of the adjoining church.
Museums globally have transformed from not only being ‘museums’ in the traditional sense, but also community centres and cultural spaces. MoCA strives to achieve the same. So far, all their programs and activities have received a good response.
Museums globally have transformed from not only being ‘museums’ in the traditional sense, but also community centres and cultural spaces. MoCA strives to achieve the same.
THE MoCA LIBRARY PROJECT
MoCA is also happy to announce the launch of the ‘MoCA Library Project’ on July 26, 2024. This day coincided with the 101st birth anniversary of Percival Noronha, a former member of the museum’s Managing Committee, whose family has donated books from his collection to the museum.
The Auxiliary Bishop of Goa and Daman, Simião Purificação Fernandes, graced the occasion and blessed some of the books from the collection. The MoCA Library will house a collection of books, journals, research publications, photographs, maps and articles on themes related to Goa, history, art and architecture, conservation and heritage matters.
DETAILS
WHAT: Museum of Christian Art (MoCA)
LOCATION: Convent of Santa Monica, Holy Hill, next to St Augustine Monastery, Old Goa
WHEN IT'S OPEN: 7 days a week
TIMINGS: 10 am – 5 pm
CONTACT: +91 83088 05399
E-MAIL: museumofchristianart@gmail.com